Wurtele Thrust Stage / June 16 – Aug 26, 2018

West Side Story based on a conception by JEROME ROBBINS book by ARTHUR LAURENTS music by LEONARD BERNSTEIN lyrics by STEPHEN SONDHEIM directed by JOSEPH HAJ

PLAY GUIDE Inside

THE PLAY Synopsis, Setting and Characters • 3 About the Source: Romeo and Juliet • 4 Scenes and Songs • 4 Responses to West Side Story • 5

THE AUTHORS About the Authors • 8 In Their Own Words • 11

CULTURAL CONTEXT Juvenile Delinquency in the 1950s • 14 Gang Slang • 15 Fighting Street Clubs: Reports from the Time • 16 Puerto Rico at a Glance • 18 People, Places and Things in the Musical • 20

BUILDING THE PRODUCTION From the Director • 22 From the Creative Team • 24

ADDITIONAL INFORMATION For Further Reading and Understanding • 28

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DRAMATURG Carla Steen GRAPHIC DESIGNER Akemi Graves CONTRIBUTOR Carla Steen

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CHARACTERS

THE JETS AND THEIR GIRLS Tony, a former leader of the Jets Riff, Tony’s best friend and current leader of the Jets Velma, Riff’s girlfriend Diesel, the Jets’ best fighter Graziella, Diesel’s girlfriend Baby John, the youngest member of the Jets Anybodys, a wannabe member of the Jets

Action Gee-Tar Snowboy Clarice Big Deal Minnie A-Rab

Photo: The cast of West Side Story (T Charles Erickson)

THE SHARKS AND THEIR GIRLS Synopsis Bernardo, the leader of the Sharks Maria, Bernardo’s sister On Manhattan’s West Side during the waning days of summer, rival gangs Anita, Bernardo’s girlfriend prowl the streets. The Jets, a motley crew of “American” youth, find their territory threatened by the Sharks, a gang of newly arrived Puerto Rican Chino, Maria’s intended suitor immigrants. After their most recent skirmish is broken up by the local Pepe Luis cops, the Jets decide to rumble with the Sharks to determine once and Indio Francisca for all who owns the streets. The Jets’ leader Riff asks his best friend Nibbles Consuelo Tony, a former Jet now working in Doc’s drugstore, to back him at the Anxious Rosalia neighborhood dance when he challenges the Sharks’ leader Bernardo. Juano Teresita Tony reluctantly agrees.

At the dance, the gangs remain defiantly separated. Among the Sharks THE ADULTS are Bernardo’s girlfriend Anita and his sister Maria, who is attending her Doc, owner of the local first dance in America. In the midst of a mambo, Tony and Maria lock eyes drugstore and Tony’s and dance, reveling in each’s other presence until Bernardo separates employer them. Undeterred, Tony later finds Maria’s apartment, and they pledge Schrank, a plainclothes their love to each other on her fire escape. But a war council between the lieutenant gangs sets the time and place for the all-out rumble, leaving the young lovers caught in a world of prejudice and hate. Krupke, a uniformed sergeant Setting Glad Hand, supervisor of the 1957. The West Side of Manhattan during the last days of summer. Most dance at the gym of the action takes place over the course of two days, from 5 p.m. on the first day to midnight on the second day.

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About the Source: Romeo and Juliet Scenes and Songs ACT I Scene 1: The Street “Prologue” ORCHESTRA “Jet Song” RIFF, JETS

Scene 2: A Backyard “Something’s Coming” TONY

Scene 3: The Bridal Shop

Scene 4: The Dance at the Gym “Blues,” “Mambo,” “Cha-Cha,” “Jump” ORCHESTRA “Maria” TONY

Scene 5: A Back Alley “Balcony Scene” MARIA, TONY “America” ANITA, ROSALIA, CONSUELO, FRANCISCA, TERESITA

Scene 6: The Drugstore “Cool” RIFF, JETS

Scene 7: The Next Day at the Bridal Shop “One Hand, One Heart” TONY, MARIA

Photo: Marc Koeck (Tony) and Mia Pinero (Maria) in West Side Story (T Charles Erickson) Scene 8: The Neighborhood “Tonight” RIFF, BERNARDO, ANITA, TONY, MARIA, JETS, SHARKS

In 1949, Jerome Robbins was struck with the idea of putting Romeo and Scene 9: Under the Highway Juliet in his own contemporary world. The story of doomed love is as old as “The Rumble” ORCHESTRA storytelling itself, and in putting their own spin on this tale, Robbins, Laurents, Bernstein and Sondheim were only doing what Shakespeare himself had done ACT II with his source material. Scene 1: Maria’s Bedroom “I Feel Pretty” MARIA, CONSUELO, Romeo and Juliet is a relatively early work in Shakespeare’s canon, usually ROSALIA, FRANCISCA, TERESITA dated between 1591 and 1596. Speculation varies about when it was first “Ballet Sequence” TONY, MARIA performed, though between 1595 and 1598 seems probable. The play was first “Somewhere” SOPRANO SOLOIST published in 1597 when the first quarto book appeared. Scene 2: Another Back Alley “Gee, Officer Krupke”JETS The primary source for the play was Arthur Brooke’s poem, The Tragicall

Historye of Romeus and Juliet (1562), which was based on a French version of Scene 3: Maria’s Bedroom the Romeo and Juliet story, Of Two Loves by Pierre Boaistuau, and the Italian “A Boy Like That”/“I Have a Love” novel Giulietta e Romeo by Matteo Bandello, both of which date back to the ANITA, MARIA 1590s. Scene 4: The Drugstore “Taunting Scene” ORCHESTRA Among the changes and inventions Shakespeare made for his version are creating the character of Mercutio, condensing the action’s timeframe from Scene 5: The Street months to mere days and placing the Capulet-Montague feud front and center “Finale” MARIA, TONY from the first scene.

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Responses to West Side Story

Gang warfare is the material of of reconciling the characters who conception is just beyond “West Side Story,” which opened appear on the stage with their my powers. at the Winter Garden last evening, actual prototypes uptown. and very little of the hideousness Asked to believe that significant has been left out. But the author, All my reading, vividly assisted by tragedy and tender, doomed, not composer and ballet designer are photographs, has led me to think of unliterary romance frequently creative artists. Pooling imagination the members of juvenile gangs as exist among juvenile delinquents, and virtuosity, they have written vicious, senseless, and degraded. I remain, I’m embarrassed to say, a profoundly moving show that is The boys and girls at the Winter incredulous and unstirred. as ugly as the city jungles and also Garden are tough all right, but pathetic, tender and forgiving. … somehow we are asked to believe Wolcott Gibbs, “Hoodlums and that they are simultaneously Heiresses,” The New Yorker, Everything in “West Side Story” is rather winsome and picturesque, October 5, 1957 of a piece. Everything contributes with essentially a high regard to the total impression of wildness, for chastity in the young women If West Side Story is certain to ecstasy and anguish. The astringent who accompany them, and even run a year, why not two? The score has moments of tranquility a certain delicacy and style in commercial limitation is related to and rapture, and occasionally a their employment of the English an artistic one. People who want touch of sardonic humor. And the language. They are capable of to see a Broadway musical do not ballets convey the things that Mr. murder in moments of great stress, particularly crave a “tragedy” of Laurents is inhibited from saying but it is impossible to suspect them social significance in which ugly because the characters are of rape, mugging, perversion, drug sentiments and violence must play so inarticulate. … addiction, torture, or any other a major role. practices that would naturally be The subject is not beautiful. But repugnant to the normal American My sympathies in this case go with what “West Side Story” draws boy. It is probably necessary to this lowbrow opinion. Although out of it is beautiful. For it has a present them in this disinfected I appreciate the show’s merits – searching point of view. light in the theatre, but the whole and sat in a theatre echoing with

Brooks Atkinson, “Theatre: The Jungles of the City,” The New York Photo: The cast of West Side Story (T Charles Erickson) Times, September 27, 1957

My opinions of “West Side Story” are, I have to admit, very mixed. The plot, though certainly racking, seems to me strangely empty of real emotional content. Partly, this may be due to the fact that Shakespeare’s ideas of what is permissible in the way of dramatic coincidence aren’t easy to accept today, and it is hard to escape a feeling of patness and contrivance in the way each fatal encounter is arranged. It is also, however, almost equally the result of the difficulty

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“bravos” – I did not enjoy it. In fact, What they have done with “West Anyway I loved the number – apart I resented it: I thought it a phony. I Side Story” in knocking it down from Lenny’s beautiful music, it am not above enjoying the phony and moving it from stage to was a fun, wonderful moment on occasion, but I could not do screen is to reconstruct its fine which was very necessary in the so here. I do not like intellectual material into nothing short of a show, because he had so few of slumming by sophisticates for cinema masterpiece. those. And at the end of the day purposes of popular showmanship. [of final rehearsal] I realized that It is vulgar, immature, unfeeling. … In every respect, the recreation we had not rearranged all of the of the Arthur Laurents-Leonard choreography for “Pretty.” So I Our theatre is too clever by far. Bernstein musical in the dynamic said: “Oh my God, Jerry, we didn’t Talent we possess to a formidable forms of motion pictures is restage it …” He said, without degree, but in true moral-artistic superbly and appropriately flinching and without a second’s perception (they are indissolubly achieved. The drama of New York delay: “Ad-lib it.” … linked) we are pathetically juvenile gang war, which cried to underdeveloped. So it is possible be released in the freer and less At the end of the number there was for such gifted people as the restricted medium of the mobile no room for the big dance thing, authors of West Side Story to mix photograph, is now given range so all I could think of was to jump the pain of a real problem, penny and natural aspect on the large on the bed, and like a four-year-old sociology, liberal nineteen-thirtyish Panavision color screen, and to twirl, twirl, twirl and then fall on propaganda, Betty Comden- the music and dances that my behind. And that’s what I did. I Adolphe Green fun and the best of expand it are magnified as finished like that and the audience the advanced but already accepted true sense-experiences. went crazy. And it stopped musical comedy techniques into the show! an amalgam which eliminates what Bosley Crowther, “Film at the Rivoli is supposed to be the heart of is Called Masterpiece,” The New But the most wonderful part, the matter. For above all we want York Times, October 19, 1961 told to me afterward by Arthur at one and the same time to be Laurents, was that after the progressive and to please several Now, “I Feel Pretty” was Jerry’s least show, as Oscar Hammerstein was million playgoers, the ticket brokers favorite number in the show, because walking up the aisle, he came over and the movie companies. That is it dealt with the inane behavior of to Jerry and Arthur and Lenny not how Threepenny Opera a young woman in love – it was and Steve, who were at the top, was made. something he didn’t understand watching from the back row and and didn’t care about and didn’t feel said: “Congratulations to all of you. Harold Clurman, “Theatre,” The was integral to the work. He actually This is an incredible milestone in Nation, October 12, 1957 wanted it cut. It was the only time in the theatre.” And he raved and the whole show that I smiled. … raved about every aspect of the show. And then turning to Jerry,

Photo: Marco Antonio Santiago (Bernardo) and Ana Isabelle (Anita) in West Side Story (T Charles Erickson) he said: “But my favorite moment in the entire show came with the spontaneity of ‘I Feel Pretty.’ I don’t know how you did it, but you encapsulated the joy of a young woman in love. And you are to be congratulated.” And Jerry said: “Thank you.”

Carol Lawrence, who played Maria in the original Broadway cast, quoted in Conversations about Bernstein edited by William Westbrook Burton, New York: Oxford University Press, 1995

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Responses to West Side Story (continued)

The first movie I ever saw in a Drink, Man, Woman,” touches on Friar Laurence of West Side Story theater was “West Side Story,” the universal themes such as family is Doc, the owner of the drugstore 1961 musical about warring street and love relationships and the where Tony works. Except for Doc, gangs in 1950s New York. The conflicting emotions of leaving the the clueless social worker Glad latest was an advance screening of parental nest. Hand, and Officers Krupke and “Tortilla Soup,” a romantic comedy Schrank, who represent all the about a widowed father and his Members of the screening audience repressiveness of a broken adult three grown daughters that is – mostly journalists attending this system, the entire cast is “young.” scheduled to premiere Friday in the year’s National Association of Twin Cities. Hispanic Journalists convention in Marjorie Garber, Shakespeare Phoenix – broke into applause at and Modern Culture, New York: More than time separates the two the end of “Tortilla Soup.” Those of Pantheon Books, 2008 movies. “West Side Story” served us who clapped, I believe, did so as a template for how Hollywood in part because such mainstream I never appreciated how artful would largely portray Puerto Ricans portrayals remain a rarity and Arthur Laurents’ book was until and other Latinos for years to we felt a need, almost a duty, the play went into rehearsal – come – as gang members, juvenile to acknowledge them. I know I how concise, how important, in delinquents, the poor, thick- clapped for my cousin, who should particular, the language he was able accented and obedient dishwasher, have no fear of getting jumped on to invent to remove it just enough garden hand or housemaid. The the way home from movies like this. from real street language so that new film, with a mostly Latino cast, it would be at one with Robbins’ serves as a template for how we Ruben Rosario, “New Film provides dances. should have been portrayed more realistic portrayal of Latinos,” all along. St. Paul Pioneer Press, September Harold Prince, Sense of Occasion, 11, 2001 New York: Applause, 2017 “West Side Story” was a visual spectacle for me, as it was also the Tony (Polish-American Anton) I loved playing Anita: she’s a mother first movie I had ever seen in color. and Maria (from Puerto Rico) image to Maria, protective of her, My 16-year-old cousin frowned as are the Romeo and Juliet. Anita, but also saucy and passionate, very we headed home from the old RKO Maria’s friend from the bridal much in love with Bernardo. We Theater in New York’s South Bronx. shop where they both work, is had a whole cast of young, excited both the Nurse-confidante figure dancers and all that energy in a “What’s wrong?” I asked. “Except and an age-mate for Maria; her room feeds off itself. “America” was for Maria, we were all made out to love for Maria’s brother Bernardo, tremendous fun to perform because look like hoodlums,” she said. “And who replaces Tybalt as the victim of the tempo, the Latin rhythm. we killed Tony (the romantic lead), of Tony/Romeo’s ill-advised but Stephen’s lyrics for that song are so so we’ll get jumped at school.” well-intentioned intervention, gives biting and comical. I got letters from Anita a powerfully tragic as well Puerto Rican people who had totally I was 7 years old, too young to as a wittily knowing voice. Chino, misunderstood it – they thought understand the concept of “we” Maria’s hapless suitor, is a version that I really meant it was an “ugly or why she felt that way. The of Juliet’s suitor Paris, but with, island” and didn’t realise that Anita realization has sunk in after again, a great implication in the was joking to make a point. They four decades of largely outcome, since it is Chino who were highly emotional about it. negative portrayals. … kills Tony, precipitating the double tragedy. Riff, the lead of the Jets, is Chita Rivera, who played Anita [Hector] Elizondo plays a based in part on Mercutio – since in the original Broadway cast, restaurant master chef in “Tortilla his accidental death triggers the quoted in “How we made West Soup,” which also stars Raquel gang war – but Riff is from the first Side Story,” by Chris Wiegand, The Welch and comedian Paul a partisan, not (as is the case with Guardian, September 18, 2017 Rodriguez. The movie, inspired by Mercutio) a kinsman of the Prince, the Taiwan international hit “Eat, and therefore a medial figure. The

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About the Authors

Lyricist Stephen Sondheim, playwright Arthur Laurents, producers Harold Prince and Robert Griffith, composer Leonard Bernstein and director/ choreographer Jerome Robbins

Photo: Friedman Abeles

Symphony Orchestra. Bernstein perhaps best known for holding the was appointed assistant conductor position of music director at the of the New York Philharmonic in New York Philharmonic from 1958 1943 and gained almost instant to 1969 and for his “Young People’s worldwide fame when he was a Concerts” aired on CBS. last-minute conductor substitution for a Carnegie Hall concert on Among the highlights of his November 14, 1943. many classical compositions are Symphony No. 1 “Jeremiah” (1943); Bernstein’s career is notable for Prelude, Fugue and Riffs for solo its dual path in conducting and clarinet and jazz ensemble (1949); LEONARD BERNSTEIN composition, and for his interest in Symphonic Dances from “West was born in Lawrence, classical as well as jazz, Latin and Side Story” (1960); Chichester Massachusetts, on August 25, Broadway music. As a conductor, Psalms (1965); and the operas 1918, to Ukrainian parents Jennie Bernstein frequently appeared Trouble in Tahiti (1952) and A Quiet and Samuel Bernstein. He began on international stages, notably Place (1983). He collaborated with piano lessons as a boy and studied being the first American to choreographer Jerome Robbins music at Harvard University and conduct opera at the Teatro alla on three major ballets: Fancy Free Philadelphia’s Curtis Institute Scala in Milan. He was a lifelong (1944) and Facsimile (1946) for of Music, as well as at the then advocate for American composers, the American Ballet theater and newly created summer institute, including Aaron Copland. Wearing Dybbuk (1975) for the New York Tanglewood, at the Boston his conducting hat, Bernstein is City Ballet.

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For the theater, Bernstein New York to launch his career by returned to Broadway several more collaborated with Betty Comden writing radio plays. When he was times with the original musicals The and Adolph Green on the musicals drafted in 1941 to serve in World Madwoman of Central Park West On the Town (1944) and Wonderful War II, he wrote training films and (1979, book and director), La Cage Town (1953) and wrote the music propaganda radio plays for the aux Folles (1983), for which he won for Candide (1956). The next year U.S. Army. After the war, he made a Tony Award for his direction, he collaborated with Robbins again, his Broadway debut as an author and Nick & Nora (1991, book and along with Arthur Laurents and with Home of the Brave (1945) and director). He also directed I Can Stephen Sondheim, on West three years later collaborated with Get It for You Wholesale (1962) as Side Story. In 1976, he and Jerome Robbins on the musical well as revivals of Gypsy and West Alan Jay Lerner wrote Look Ma, I’m Dancin’! (1948). Side Story on Broadway when he 1600 Pennsylvania Avenue. was in his 90s. Laurents passed In the late 1940s, Laurents also away on May 5, 2011. Bernstein received many honors worked in Hollywood, where during his illustrious career, he wrote the Alfred Hitchcock- Edited from a Turner Classic including a Lifetime Achievement directed thriller Rope (1948) and Movies biography Grammy Award, 11 Emmy Awards, the melodrama Anna Lucasta Tony Award, election to the (1949) before being blacklisted American Academy of Arts and during the McCarthy hearings for Letters, Kennedy Center Honors several years, though he wrote and many medals from various Anastasia starring Ingrid Bergman composer societies. In 1990, in 1956. Later in his career, he wrote Bernstein received the Praemium the screenplays for The Way We Imperiale, an international Were (1973) and The Turning prize awarded by the Japan Point (1977). Arts Association for lifetime achievement in the arts. Bernstein But Laurents is best known for his used the $100,000 prize to work in the theater as a playwright establish the Bernstein Education and director. Among his plays are JEROME ROBBINS was born Through the Arts (BETA) Fund The Bird Cage (1950), The Time of October 11, 1918, in Manhattan to before his death on the Cuckoo (1952), A Clearing in Lena and Harry Rabinowitz. He October 14, 1990. the Woods (1952) and An Invitation began dancing in high school and, to March (1960), for which he after studying chemistry for a year Edited from the Leonard Bernstein also made his directorial debut at New York University, launched at 100 biography at www. and Stephen Sondheim wrote his dance career. He broadened his leonardbernstein.com incidental music. He collaborated study of dance to include ballet, with Robbins again when he wrote among other styles, to build on the book for West Side Story, with his foundation in modern dance. music by Leonard Bernstein and As a member of American Ballet lyrics by Sondheim. Two years later, Theatre, Robbins danced a number he collaborated again with Robbins of character roles and made his and Sondheim on the musical choreographic debut in 1944 with Gypsy (1959), with music by Jule Fancy Free, followed by Interplay Styne. He wrote the book for and (1945) and Facsimile (1946). directed the Sondheim musical Anyone Can Whistle in 1964, and He quickly turned his attention the next year adapted his 1952 to Broadway, where he play The Time of the Cuckoo into choreographed On the Town ARTHUR LAURENTS was the musical Do I Hear a Waltz?, (1944), with music by Leonard born on July 14, 1917, in Brooklyn, with lyrics by Sondheim and music Bernstein, Billion Dollar Baby New York, to Ada and Irving by Richard Rodgers. He won a (1945) and High Button Shoes Levine. After graduating from Tony Award in 1968 for Hallelujah, (1947), before also taking on the Cornell University, he returned to Baby!, which won Best Musical, and mantle of co-director for the Arthur

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Laurents musical Look, Ma, I’m shy of his 80th birthday. and Juliet, which would become Dancin’! (1948). Other musicals that West Side Story. It was his artistic featured Robbins’ choreography Edited from a New York City Ballet introduction to the Broadway included Call Me Madam (1950), biography stage. Sondheim worked alongside The King and I (1951), Peter Pan composer Leonard Bernstein to (1954) and Bells Are Ringing write the show’s lyrics despite their (1956) before he collaborated with vastly different approaches. Bernstein, Laurents and Stephen Sondheim on West Side Story A Funny Thing Happened on the in 1957. Also on Broadway, he Way to the Forum (1962) was the directed and choreographed Gypsy first show for which Sondheim (1959), Fiddler on the Roof (1964) wrote both music and lyrics. The and Jerome Robbins’ Broadway musical won many Tony Awards, (1989), a musical revue celebrating including Best Musical, but Robbins’ work, as well as a 1963 Sondheim’s score was not well production of Brecht’s Mother received. This has been a recurring Courage and Her Children starring STEPHEN SONDHEIM theme for many of Sondheim’s Anne Bancroft. Off-Broadway, was born on March 22, 1930, in musicals: he’s received consistent he directed Oh Dad, Poor Dad… Manhattan to Etta Janet “Foxy” and criticism that his lyrics are too dark, (1962) by Arthur Kopit. Robbins Herbert Sondheim, who worked in his tunes are not “hummable” and also became a well-regarded show the fashion industry. His parents the subject matter is “wrong” for doctor, helping out or taking over divorced when Sondheim was a musical. Sondheim’s response for shows that weren’t 10, and Foxy and Stephen moved to those who think his work quite working. to Pennsylvania, not far from a inaccessible is that “what I write designer friend of Foxy – the wife has to be listened to more than Parallel to his career in theater, he of lyricist Oscar Hammerstein once.” His shows would often close continued to choreograph for the II. Sondheim befriended the after a short run with little profit New York City Ballet, where he Hammerstein’s son James and gained, only to receive critical was associate artistic director and spent much of his time away acclaim much later. Sondheim’s created more than 50 ballets, for from his mother and with the many awards include an Academy his own company Ballets U.S.A. Hammersteins. Estranged from Award for Best Song (“Sooner and for American Ballet Theatre, both his parents, Sondheim found or Later” from Dick Tracy), eight among many others. He made a a father figure in Hammerstein, Grammys, eight Tonys and a foray into opera in 1954 to direct who brought Sondheim with his Pulitzer Prize (Sunday in the Park Aaron Copland’s The Tender Land, family to see Broadway shows. with George, 1984), which are and the next year he directed Mary Hammerstein became both a testament to his critical acclaim. His Martin in a telecast of Peter Pan, teacher and source of inspiration, body of work includes Anyone Can for which he won an Emmy Award. providing invaluable, if harsh, Whistle (1964), Company (1970), When West Side Story was adapted criticism of Sondheim’s first show, Follies (1971), Sweeney Todd (1979), for film, Robbins co-directed with By George, written when he was Merrily We Roll Along (1981), Into Robert Wise and together they a teenager. the Woods (1987), Passion (1994) received the Academy Award for and Road Show (2008; formerly Best Direction. Another great influence on titled Bounce). Sondheim was his first music Among Robbins’ additional teacher at Williams College, Robert Edited from a biography written by honors are the Kennedy Center Barrow, who taught him the logic former Guthrie literary intern Emily Honors, honorary membership behind music. Sondheim loved Gustafson in the American Academy and Barrow’s practical, dry approach Institute of Arts and Letters, Handel to something he had once seen Medallion of the City of New York, as “romantic.” During his first the National Medal of the Arts and big break in 1957, Sondheim was five Tony Awards. Jerome Robbins asked to write the lyrics for a passed away on July 29, 1998, just new musical reworking of Romeo

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“I don’t remember the exact date play into musical theater of today. it separately and elsewhere? Why – it was somewhere around 1949 – Lenny, Steve and I had nothing to did Lenny have to write an opera, this friend of mine was offered the put our work against. Arthur had Arthur a play, me a ballet? Why role of Romeo. He said to me, ‘This that text by Mr. William S all the couldn’t we, in aspiration, try to part seems very passive, would time. We could make our poetry bring our deepest talents together you tell me what you think I should out of the music, the dancing, the to the commercial theater in this do with it.’ So I asked myself, ‘If song lyrics, but Arthur had the work? That was the true gesture of I were to play this, how would I burden of making his text go along the show.” make it come to life?’ I tried to with Romeo and Juliet and still imagine it in terms of today. That communicate some of the poetry, Jerome Robbins, quoted in clicked in, and I said to myself, the argot, the drives and passions Broadway Song & Story edited ‘There’s a wonderful idea here.’ of the 1950s, while trying to match, by Otis L. Guernsey, Jr., in a So I wrote a very brief outline and somehow, the style we were conversation moderated by started looking for a producer and creating as we went along.” ... Terrence McNally, Dodd, Mead & collaborators who’d be interested. Company, 1986 This was not easy. Producers were “I don’t like to theorize about not at all interested in doing it. how or if the show changed Arthur and Lenny were interested, future musicals. For me what was “In the case of West Side, it wasn’t but not in getting together to work important about West Side Story my idea at all; it was Jerome on it at that time, so we put was in our aspiration. I wanted to Robbins’ idea. And the timing it away.” ... find out at that time how far we, turned out to be wrong, because as ‘long-haired artists,’ could go in when we started a project about “Arthur had the hardest job of bringing our crafts and talents to Romeo and Juliet in the slums, the anybody converting a Shakespeare a musical. Why did we have to do East Side was what we had in mind

Photo: The cast of West Side Story (T Charles Erickson)

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– a story about kids fighting in the although I eliminated and changed convenient plague; in West Side, it’s streets on the Lower East Side of to suit contemporary time and prejudice – the factor basic to the New York. We took the story from place, and to allow song and/or story and the theme. In England, Shakespeare to that setting. We – dance tell as much of the story as that change was regarded as an Jerry Robbins, Arthur Laurents and one or the other or both could. improvement on Shakespeare. I – all got excited. This was 1949.” Hardly a reviewer failed to praise it; The first change I made was early, in this country, to my knowledge, Originally the plot was to center in the opening scene, in fact: I not one reviewer noticed it.” on a Jewish girl and a Catholic boy. threw out Rosaline. … Love at “Arthur wrote a couple of scenes,” first sight for [Juliet] is her first Arthur Laurents, Original Story Bernstein says, “and we all began love; I made it his as well. Jerry’s By: A Memoir of Broadway and to see at a certain point that the suggestion that each have a short, Hollywood, New York: Alfred A. show was dated. There was a faint introductory scene before they Knopf, 2000 odor of Abie’s Irish Rose. So we meet added to the effectiveness gave it up. Five years later, the right of both roles but his staging of time came.” … the meeting did more than any “When we worked together, Lenny words could. It was theatre magic, would sketch out something that “I was at a Beverly Hills pool, a literally breathtaking example of was purple prose not poetry. It with Arthur Laurents. I think I why he was without peer in staging screamed: ‘Look at me! I’m being was in California scoring On the a musical. No one else could poetic!’ I’d learned from Oscar Waterfront. And we were talking have or would have taken a Hammerstein, my mentor, that the ruefully about what a shame it was murderous knife fight and whole point is to underwrite not that the original West Side Story an attempted gang rape and overwrite because music is so rich didn’t work out. Then, lying next choreographed them so vividly an art itself. Poetry makes, generally, to us on somebody’s abandoned and theatrically that the impact very poor lyrics unless you’re chair was a newspaper with a was emotionally devastating. dealing with a certain kind of show. big headline, ‘GANG FIGHTS.’ We It’s too allusive, that’s not what you stared at it and then at each other The parents of both lovers I also want. When Lenny failed, he failed and realized that this – in New York eliminated because the play no big. He was always jumping off – was it. The Puerto Rican thing longer centered on a family feud the top of the ladder. When you’re had just begun to explode, and but on a tribal feud: ethnic warfare young, you want to take chances we called Jerry, and that’s the way between juvenile gangs. The but you get discouraged by failure. West Side Story – as opposed to impartial, civilized Duke who ruled I learned, as a composer, to be less East Side Story – was born.” the territory became the police square – that you don’t always have who ruled the streets. Bigoted and to write in four-bar phrases. Leonard Bernstein, quoted in Notes brutal themselves, they encouraged on Broadway: Conversations with and promoted bigotry and brutality Jerome Robbins was a taskmaster, the Great Songwriters by Al Kasha among the kids they controlled. … as choreographers are. He’s the only and Joel Hirschhorn, Chicago: West Side Story’s Prologue sets up genius I’ve ever met but he was Contemporary Books, Inc., 1985 a world of violence and prejudice in demanding and easily offended. You which the lovers try to survive. … came out scarred, but you came out with good work. “Every musical, like every play, I made other changes: no potion begins with the word – no matter for Maria (Juliet) to fake death There’s a lot of plot in West Side how much music it is set to or with – Jerry’s suggestion she take Story but its scenes are probably muffled by. We began with an a sleeping pill garnered three blank the shortest of any book musical outline I put on the table, giving looks – and no suicide for her, that’s ever existed. Arthur packed so us more to discuss than theory. either; this girl was too strong to much into it. He also did something I divided the play into two acts, kill herself for love. The change I very smart. He said the trouble detailing in each scene the was most proud of was the reason with street slang is that it dates. So characters, action and musical that prevents Tony (Romeo) from he made up a lot of language and elements. The story line followed getting the message that Maria has the guys say things like ‘riga Shakespeare’s fairly closely, is alive. In Shakespeare, it’s a tiga tum tum.’ It’s a sort of Alice in

12 \ GUTHRIE THEATER THE AUTHORS

Wonderland language that doesn’t going to be able to sing augmented date. … The simplest songs, like fourths – Ma-reee-aaaah – C to F#. Maria, were the hardest to write. Impossible! Also, they said, it was ‘Gee, Officer Krupke’ was easier. I too rangy for pop music – Tonight, wanted to be the first guy to use Tonight ... it just went all over the a four-letter word in a musical. I place. Besides, who wanted to see did but the line became ‘krup you’ a show where the first-act curtain instead. The record couldn’t have comes down on two dead bodies been shipped over the state line if lying on the stage? That’s Not A I’d used Broadway Musical Comedy. an obscenity. So we were very much discouraged. We knew we were going to write And casting it was the ultimate a number about America for the problem: trying to find teenagers or Sharks and their girls. Lenny went people who looked like teenagers on vacation to Puerto Rico and or who, with the aid of a hair piece said: ‘I’ve been listening to this and some good makeup, could wonderful musical form called pass for teenagers. So we settled huapango.’ He played this very on a mixture – some were actual fast tune and I said, boy it’s going teenagers, some were twenty-one to be hard to shoehorn lyrics into years old, some were thirty but that but I’ll try. It’s a very crowded looked sixteen. Some of them were lyric: some of it works and some wonderful singers but couldn’t of it doesn’t. I found out, years dance very well. Or there were great later, that he’d written the tune in dancers who couldn’t sing very well his teens for an unproduced ballet ... and if they could do both, they called Conch Town. … Lenny had couldn’t act. We went through hell.” made up this entire story to make it seem more spontaneous, then just Leonard Bernstein, quoted in pulled out an old tune that Dinner with Lenny: The Last Long he liked.” Interview with Leonard Bernstein by Jonathan Cott, New York: Stephen Sondheim, quoted in Oxford University Press, 2013 “How we made West Side Story,” by Chris Wiegand, The Guardian, September 18, 2017 “Many say West Side Story forever changed the American musical – a claim made these days by shows “Casting [West Side Story] was a like Rent and Spring Awakening very tough problem because the with no visible proof – because of actors had to be able to sing and its use of dance and music. To me, dance and be taken for teenagers. it used those elements better than Hah! Impossible! Everybody said they had ever been used before; we were crazy and to just forget but what it really changed, what it. Columbia Records didn’t want its real contribution to American to invest in it or record it, so musical theatre was, was that it Steve Sondheim and I auditioned showed that any subject – murder, it like crazy, playing the piano attempted rape, bigotry – could be four-hands and screaming it out, the subject of a popular musical.” trying to convey quintet or all the contrapuntal things, those crazy Arthur Laurents, quoted in Mainly fugues like the twelve-tone ‘Cool’ on Directing, New York: Alfred A. fugue. No one, we were told, was Knopf, 2009

GUTHRIE THEATER \ 13 CULTURAL CONTEXT

Photo: Reaching the Fighting Gang, New York City Youth Board “Hey, I Got a Social Disease!” by Carla Steen Juvenile Delinquency in the 1950s Production Dramaturg

Although young people misbehaving wasn’t anything new in the 1950s, the scope and scale of the problem of juvenile delinquency was. A marked rise in crime and violence among teenagers post-World War II proved to be a matter of grave concern and frequent discussion.

In the late 1950s alone – the Times about what he called the Around the same time, stories time of West Side Story – Look “Shook-Up” generation. “Shook- of juvenile delinquency were and Life magazines, The New up in teen-age terminology means also playing out on the silver Yorker, Newsweek, U.S. News and upset, disturbed,” he wrote. “The screen, with movies like The World Report and other news consequences of this shook-up Wild Bunch in 1953 and Rebel organizations had many and condition constitute one of the Without a Cause in 1955 setting lengthy stories about the rise and principal social problems of our day.” the stage for later films like The increase of delinquency among Through his seven articles, Salisbury Delinquents (1957) and High School teens and preteens, the crisis in the wrote about youth gangs, New Confidential (1958) about kids schools, police and governmental York City schools, lack of housing getting caught up in the wrong response to delinquency or the and difficult home life – all of the crowd or with local gangs and the latest gang incident. These articles problems that contributed to juvenile rising use of alcohol and drugs, frequently speculated about or delinquency among this “Shook-Up” especially marijuana, among young offered up suggestions for what generation. Salisbury bookended his people. The Delinquents, written the solution could be. pieces with references to West Side and directed by Robert Altman, Story, which was still running strong ended with a voiceover epilogue In March 1958, Pulitzer Prize-winning on Broadway. exhorting people to deal with the journalist Harrison E. Salisbury had problem of delinquency: a seven-part series in The New York

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“This is one story. Who’s to published a book titled Reaching GANG SLANG blame? The answers are not the Fighting Gang based on the (both real and made up by Laurents) easy nor are they pleasant. organization’s experience and We are all responsible. And outreach with gangs. Many of its Crabbin’ Find fault with, criticize, it’s our responsibility not to descriptions of gang structure, peck at look the other way. Violence membership, activity and behavior Cracko Jacko “Cracko” is 20th- and immorality like this must parallel those depicted in West century slang for lunatic, be controlled and channeled. Side Story. The Jets’ frustration insane, eccentric Citizens everywhere must work pouring out in “Gee, Officer against delinquency just as they Krupke,” as they describe the Daddy-O Term of address between males work against cancer, cerebral ineffectual adults and structures of palsy or any other crippling society that continually fail them, Dig Appreciate, enjoy, understand disease. For delinquency is a is strongly echoed in the words of Frabbajabba Nonsensical disease. But the remedies are the Youth Board: chatter; derived from “jabber” available. Patience, compassion, understanding and respect for “He reacts negatively to a Gassin’ Chattering, offering parental and civil authority. By community which shows its only hot air, talking working with your church group, concern only when he or his inconsequentially with a youth organization in group is in trouble and then acts Hoodlums Street ruffians, thugs your town, by paying closer repressively. The application by or gangsters attention to the needs of your the community of the label of Jitterbug Participate in gang children, you can help prevent ‘delinquency’ or ‘gang’ crucially fighting; go into combat the recurrence of regrettable affects the self-definition or events just like the ones you self-image of the member and Kick Stimulating or intoxicating have just witnessed. You can the group. In many instances effect help halt this disease before it a feeling of self-rejection is Mix Fight, brawl cripples our children. Before it projected onto the community Rumble Mass fight between cripples society.” and the boys talk about how rival gangs ‘the world ain’t no good, the Part of New York City’s response neighborhood ain’t no good Schmuck Fool, putz to the growing problem of juvenile and I am no good.’ … He both Square Conventional, old- delinquency was to form a Youth fears and dreads apprehension fashioned Board in 1947, which was intended by the police and other law to coordinate the services to enforcement institutions, seeing Tea Drugs, especially marijuana youth provided by public and these not in terms of their Tin-Horn Inferior, second-rate private agencies. Two years later, societal function, but only as Tomato Attractive woman the Youth Board created two of they impinge upon him and its own service programs – one the group. His rejection of Turf Street(s) or block(s) that for outreach to street gangs and adults and the community is constitute a gang’s territory another for services to families and characterized by a ‘no one cares children. In 1960, the Youth Board for us’ attitude.”

LEARN MORE ABOUT THE LEGACY Google Arts and Culture: NPR Podcast: 50 Years of Leonard Bernstein at 100 West Side Story West Side Story 2018 marks Leonard Bernstein’s Dive into the world of the iconic An hour-long documentary hosted 100th birthday – an event so musical, with photos of the original by Scott Simon in three parts: notable that it launched a Broadway production, teens and Making a New Kind of Musical, global, two-year celebration with New York, a history of Manhattan’s Casting Calls and Out-of-Town more than 2,000 events across West Side and links to many related Trials, Broadway to Hollywood six continents to honor the online exhibits. and Beyond legendary composer.

EXPLORE MORE LISTEN NOW LEARN MORE

GUTHRIE THEATER \ 15 CULTURAL CONTEXT

Fighting Street Clubs: Reports from the Time

between 5 and 9 or 10 p.m. It is seldom that a full-fledged gang warfare occurs outside of these times.”

New York City Youth Board, Reaching the Fighting Gang, 1960

GANG MEMBERSHIP “There are between 80 and 100 juvenile gangs that fight one another in the streets of New York. Yet, there is no such thing as a Photo: Reaching the Fighting Gang, New York City Youth Board typical street gang.

ETHNIC MAKEUP OF GANGS Each group zealously watches The gangs vary greatly in size, “Most gangs follow the racial the other group to make sure that composition, dress, protocol, pattern of the residential area. The there is no intercession on behalf choice of weapons and degree of ‘integrated’ gang is not uncommon. of its own member. There is always criminality. One of the few things Most include at least a sprinkling the possibility that a boy watching they have in common, besides of an ethnic minority. Geography the fight will become anxious or pushing delinquency statistics to rather than race is the major carried away and in some way help new heights and constituting a determinant in membership his own group member or try to top civic worry, is that they are and conflict.” hinder the rival. This then becomes all – even the most murderous – an explosive situation.” founded on friendship.” Harrison E. Salisbury, The New York Times, March 24, 1958 New York City Youth Board, Charles Grutzner, The New York Reaching the Fighting Gang, 1960 Times, May 13, 1955 “FAIR FIGHT” “The fights themselves may vary FIGHTING HOMICIDE from a clean fight where the boys “Many provocations for gang “Two boys suspected of wielding will limit themselves to boxing fighting occur on Friday evenings, the weapons in two playground and sparring, to a knock-down, even though the fighting itself slayings here early Sunday were drag-out fight with both members may not develop then. This is held without bail on homicide calling upon all their knowledge the period of time in which they charges yesterday. The magistrate of street fighting, which includes come together at dances, games, sitting in the case demanded ‘more kicking, gouging and biting. If parties and outings. This is the drastic action’ in the handling of other members of the respective time many youths receive their juvenile delinquency. During the gangs are present, and a decision weekly allowances and get paid. day, as renewed complaints against has been either verbally or non- Disputes about girls, money, ‘coddling’ of young offenders were verbally communicated that this manners, courtesy and recognition heard in various part of the city, is a ‘fair one’ restricted to the two cause conflict, but these, however, the police seized another youth participants, they will not involve seldom result in homicide on Friday as the thirteenth member of the themselves. They will cheer, evenings. Usually this comes as the playground invaders.” razz, encourage, make fun of the result of retaliation after the Friday participants and generally act as evening fracas. As regards time of Milton Bracker, The New York any audience watching a fight. day, most rumbles occur sometime Times, September 4, 1959

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JACKETS “These [leather] jackets can be bought on Orchard Street for about fifteen dollars. The cloth jackets cost a few dollars more; they are usually made to order, in special colors and with legends on the back, for clubs, baseball teams and the like, and they appear to be a mainstay of the gangs to which Puerto Rican and other slum boys belong. … A jacket fills such needs [of solidarity] symbolically, and it is often a burning question, for priests and social workers as well as for a boy himself, whether he will get a jacket for sports or for gang activities.”

Christopher Rand, The New Yorker, November 30, 1957

SWITCH-BLADE KNIVES “With juvenile crime and mayhem on the increase, as registered by local and state police and FBI statistics, it is high time that something was done about the present interstate traffic in switch- blade knives. The lethal weapons play a key role in an appalling Photo: Reaching the Fighting Gang, New York City Youth Board number of youth crimes. … [T]he switch-blade is the favorite term for possessing an estate weapon of juveniles who commit is not accidental; Richard the ZIP GUNS assaults with intent to rob and a Lion Hearted would recognize “Teen-age terror on the grand scale large percentage of robberies are many gang concepts. … The came to the United States in 1943, committed by juveniles. In New prime occupation of the Cobras after hours in a vocational training York in 1956, there was an alarming is ‘minding our turf.’ Their turf school in the Harlem section of increase of those arrested for the or demesne is precisely defined. New York City. That was the year possession of dangerous weapons, They know the exact lines and so an unsung genius invented the which frequently included switch- do their traditional enemies the zip gun. Using one of the school blade knives.” Rovers, as well as the Apaches, lathes, this genius took a piece of another enemy group that lives not metal tubing intended as insulation Saturday Evening Post, July 12, far away. This is the world of the for the wiring inside an electric- 1958 Cobras and the Rovers. Of what lamp stand and fashioned it into a happens beyond the radius of these gun barrel that could fire a single TURF few blocks they know little and pointed pellet propelled by heavy, “The best way to understand the care less. Many have never been tightly twisted rubber bands. It was teen-age gang and to comprehend more than a mile away from home.” inaccurate much beyond 10 feet, its significance is to visit one but it could kill.” on its own “turf” – the streets Harrison E. Salisbury, The New York or blocks that constitute its Times, March 24, 1958 Joseph Carter, Newsweek, August demesne. The use of this medieval 19, 1957

GUTHRIE THEATER \ 17 CULTURAL CONTEXT

Puerto Rico at a Glance

From 1900 to 1917, the island was run by an independent civilian government (heavily influenced by the U.S. federal government) and was subject to U.S. federal laws but exempt from federal taxes. In 1917, Congress granted U.S. citizenship to Puerto Ricans and the island got a locally elected House and Senate, though other positions were still appointed by the U.S. The number of Puerto Rican immigrants to New York increased with citizenship but didn’t really take off until the GEOGRAPHY AND CLIMATE POPULATION AND 1930s, when the island suffered Puerto Rico [“rich port”] is about LANGUAGES from economic distress during the 40 miles wide north-south and Between 1900 and 1950, the Great Depression and due to U.S. about 110 miles long east-west, population almost doubled from government neglect. with the Cordillera mountains one to two million people, making running the length of the island it one of the most overcrowded In 1946, President Truman and separating areas of coastal places in the world. (As of 2017, 3.4 appointed the first Puerto Rican plains. To its west are the rest of million live on the island, which has governor of the island (Jesús T. the Greater Antilles (Cuba, Jamaica held fairly steady since 1990.) Piñero); the next year Congress and Hispaniola), and to its east allowed Puerto Rico to elect its and south are the Lesser Antilles Spanish and English are both own governor, and in 1949 Luis (including U.S. Virgin Islands, official languages, though Spanish Muñoz-Marín was elected. In Antigua and Barbuda, St. Lucia and is predominant. Today’s Puerto 1950, Truman signed the Puerto Trinidad and Tobago). The island is Ricans are descended from Taino Rico Commonwealth Bill, and the bounded by the Atlantic Ocean to and Carib Native Americans, next year Puerto Ricans held a the north and the Caribbean Sea to Africans and Spanish colonists. referendum vote and approved the south. The island has about 45 The island’s original inhabitants commonwealth status. The island’s mostly non-navigable rivers. were the Arawak people who new constitution took effect called the island Borinquén. Roman on July 25, 1952, which made it Most of the rain falls on the north Catholicism is the major religion. self-governing with an elected (Atlantic) side, so the humid, governor, a legislative branch and tropical north can include lush A BRIEF HISTORY a new judicial branch. The U.N. no green vegetation and colorful Puerto Rico was colonized in longer considered it a colony. The flora while the dry, tropical south 1493 by Spain (Christopher Immigration and Nationality Act of is browner with more desert-like Columbus and Ponce de Leon) 1952 codified a number of existing vegetation. Temperatures range and remained affiliated with Spain laws and included a section stating from 70 to 88 degrees, and it until the Spanish-American War that all people born after April 11, can rain throughout the year in 1898 forced Spain to relinquish 1899, are citizens of the U.S. though mostly between May and its hold on Cuba (to eventual December; hurricane season is independence) and Puerto GOVERNMENT August through October. Rico. The Treaty of Paris in 1899 As a commonwealth of the United officially made Puerto Rico a U.S. States, Puerto Rico is mostly Most of its animal life are birds, possession. The beginnings of self-governing but has a close snakes, lizards and frogs. There Puerto Rican migration to New relationship with the federal aren’t any large wild mammals. York City date to 1898. government. Its citizens born in

18 \ GUTHRIE THEATER CULTURAL CONTEXT

Puerto Rico are U.S. citizens (but election; the legislature can be the land is tillable and most of the Puerto Ricans are not represented expanded to guarantee one-third island’s food is imported. Since the in the electoral college, so they are minority held. Three political 1940s, industry and manufacturing can’t vote in presidential elections parties are most prominent: (food processing, oil refinery and unless they have established Popular Democratic Party, machinery manufacturing, among residency in one of the 50 states). which favors the commonwealth others) have increased, as U.S. The constitution adopted in 1952 status; New Progressive Party, corporations take advantage of created an elected bicameral which favors statehood; and tax exemptions. Tourism is also legislature, an executive branch Independence Party, which important. The U.S. is Puerto Rico’s headed by the governor and a favors self-rule. largest trading partner. Most travel judicial branch, with a supreme to the island is via the air, while court of seven justices. The U.S. handles all foreign transportation within the island is relations, defense, postal service on roads by car, bus or truck (no The legislature consists of 27 and customs regarding Puerto Rico. long-distance trains). senators (11 at-large) and 51 representatives (11 at-large) ECONOMY elected to four-year terms, as is the Agriculture has been an governor. The size of the legislature economic engine for the island can vary because one-third of the for generations, with fertile soil seats must be filled by members of producing sugar, coffee, pineapples the minority parties based on the and other fruits and vegetables, proportion of votes in the previous though only about one-third of

TIMELINE OF PUERTO RICAN MIGRATION TO NEW YORK CITY

1898: The first Puerto Ricans move 1942–1945: U.S. military sets up (garment industry, service and light to New York after 1898, settling garrisons on Puerto Rico as part of manufacturing). The number was primarily in three spots: one in the defense of the Panama Canal, the same in 1960. Brooklyn and two in East Harlem. and a large naval base is built as a destination for the British fleet if it 1953: Annual migration from the 1900: The Foraker Act establishes a should have to flee Britain. About island reaches 75,000. civilian government for Puerto Rico. 60,000 Puerto Ricans serve in the It also put all federal U.S. laws into military during World War II. 13,000 1957: The estimated population of effect in Puerto Rico, though it is Puerto Ricans enter New York in Puerto Ricans living in New York is exempt from federal taxes. 1945. The number almost triples the 550,000 (out of 7.7 million total) – next year. When direct flights to about 7% of the city’s population. 1917: Responding to demand New York are established after the Most had arrived – by birth or by Puerto Ricans for more local war’s end, five- to six-hour flights immigration – during the last 10 control, Congress passes the Jones replace a four-day trip by sea, with years. In Puerto Rico, 15% of Act, which gives Puerto Ricans tickets dropping from $85 ($740 the workforce is unemployed, U.S. citizenship, creates a bill of today) to $35 ($300 today). with another 15% only rights and establishes a locally employed part-time. elected House of Representatives 1950: Public Law 600 authorizes and Senate. The number of Puerto Puerto Rico to draft its own Compiled from The Columbia Ricans settling in New York constitution, and President Gazetteer of the World, Britannica, increases after citizenship is given, Truman signs the Puerto Rico Encyclopedia Americana, The though it doesn’t hit significant Commonwealth Bill. 70% of Puerto New Yorker, Library of Congress, numbers until the 1930s. Ricans in New York worked in the Vampires, Dragons and Egyptian three lowest-paying job sections Kings and other sources

GUTHRIE THEATER \ 19 CULTURAL CONTEXT

People, Places and Things in the Musical

ATOMIC RAY GUN after World War II and power DTs A (fictional) weapon that fires steering and automatic windshield Delirium tremens – delirium that particle beam energy, most closely washers as standard equipment may accompany the withdrawal of associated with Buck Rogers, a in 1954. The Eldorado Brougham severe alcohol dependency. It may comic book character created in was conceived as the company’s consist of whole-body trembling, 1928. Rogers is a 29-year-old World dream car for GM’s Motorama in hallucinations, disorientation War I veteran who gets trapped in 1955. The 1957 Cadillac Eldorado and seizures. a coal mine cave-in, exposing him Brougham was the third generation to radioactive gas. It puts him into of the Eldorado and the most LIEUTENANT a state of suspended animation luxurious of Cadillac’s luxury cars. A supervisory position overseeing for the next 492 years. Rip Van It had standard quad headlights, the day-to-day business of a Winkle-like, he wakes up in the year air suspension, unique trim, bureau, watch, squad or unit. 2419, where he finds America in the compact low-slung chassis, suicide Duties include evaluating the work midst of another war and uses his doors, power seats, cruise control, of officers, implementing orders World War I experience to join in front and rear speakers, brushed from higher-ups, coordinating the fight. stainless steel roof, 15-inch forged crime scenes and directing the aluminum wheels, automatic trunk processing of arrested suspects BUICK opener, electric door locks and and lockup. It also involves a lot of An American car company that sold for the remarkable sum of paperwork. Schrank would have incorporated in 1903 and in 1908 $13,074 ($114,000 today) – more passed two promotional exams surpassed Ford and Cadillac to than the 1957 Rolls Royce and to become a sergeant and then be the number one producer of double the price of other Cadillac a lieutenant. Manhattan currently automobiles. Buick’s owner, William Eldorados. Also standard on the has 21 precincts. The West Side Durant, formed General Motors Eldorado Brougham, perhaps to (between 50th and 86th streets) (GM) in 1908 with Charles Stewart Bernardo and Chino’s delight, were is the 20th precinct. The size of Mott. GM acquired Oldsmobile air conditioning and magnetic the NYPD in 1957 was just below and Cadillac, among others, within whisky glasses. Alas, no telephone 24,000 officers, though the then- the next two years. The Buick line or television. police commissioner repeatedly produced “premium” cars – below appealed to have it increased Cadillac in luxury but above the CHA CHA CHA to 28,000. mainstream brands. In 1953, it A popular ballroom dance of the introduced the Roadmaster Skylark 1950s derived by Cuban composer MAMBO Convertible as its 50th anniversary Enrique Jorrin from the Mambo An up-tempo dance music that car, with a base price of $5,000 and Danzón. It was introduced to originated in Cuba in the 1930s and ($45,000 today). the U.S. in 1954 and was almost was made popular by bandleader immediately popular, in part Perez Prado. The dance took off in CADILLAC because it was less syncopated Mexico City and New York City and The leading luxury car company than the Mambo so a little easier to was enormously popular by 1950. in the U.S. founded in 1902 and dance. It remains one of the most bought in 1909 by the newly popular Latin dances and gets its “MY COUNTRY ’TIS OF THEE” formed General Motors (GM). name from the dance steps – two A patriotic song also known as Cadillac developed and maintained slow steps and three quick ones: “America.” The tune’s origin is a reputation for innovation, one-two-three-four-and-one-two- obscure, but it was published in introducing the first electric self- three-cha-cha-cha-two-three-etc. England by 1744 and became as starter in 1912, the V-8 engine in (Also just called the “Cha Cha.”) popular as “God Save the King” 1915, the curved glass windshield by the next year. By the 1790s, the

20 \ GUTHRIE THEATER tune was also used as the national the operational level, administrative anthem for a half-dozen other duties like writing reports and countries, including Denmark. implementing orders from higher- After U.S. independence, the tune ups. Krupke would have passed a was set to new lyrics for George promotional exam to make the rank Washington, and it became one of of sergeant. several versions set to the tune. The lyrics we know today were written SETTLEMENT HOUSE by Rev. Samuel Francis Smith A neighborhood or community- in 1831. based organization that offers classes in English language MARIJUANA learning, job training, early Drug from the leaves of the cannabis childhood education, after-school plant, which has been in use as programming, legal counsel and a drug since ancient times. The more depending on the needs of International Opium Convention a specific neighborhood. The first of 1925 put the international trade settlement house in the U.S. was of marijuana under its control. By established in the Lower East Side 1949, 67 countries – including the of Manhattan in 1886. Until the mid- U.S. – were covered by the drug 20th century, staff of settlement treaty. By the 1950s, the head of the houses lived in the same buildings Federal Bureau of Narcotics, Harry where they provided services and J. Anslinger, was suggesting that activities to the neighborhood. marijuana was a gateway drug to The Lincoln Square Neighborhood heroin usage, which was on the rise Center opened in the West Side among teens. He pushed for tougher in 1947. drug laws, and Congress obliged by passing the Narcotic Control Act SUPERMAN in 1956, which essentially labeled The Superman character was marijuana a narcotic like heroin. created by Jerome Siegel and Joe Shuster of Cleveland, Ohio, and MISS AMERICA debuted in Action Comics in spring The Miss America Pageant 1938. In June 1939, a monthly comic launched in 1927 as a tourist titled “Superman” also began attraction for Atlantic City, N.J. publication, so Superman appeared Until 1959, contestants often in two different comics in 1957. represented cities – not the 50 Superman is the premier icon of the states. College scholarships were Golden Age of comics, which lasted awarded beginning in 1945, and the to the mid-1950s. The Superman pageant was broadcast nationally described as “Faster than a beginning in 1954. The 1957 Miss speeding bullet. More powerful America (crowned in September) than a locomotive. Able to leap tall was Marian McKnight. buildings in a single bound. Look! Up in the sky. It’s a bird. It’s a plane. MORNING STAR It’s Superman!” was introduced on A bright planet (could be Venus, the radio show “The Adventures of Mercury, Mars or Jupiter) that Superman” that ran from 1940 to is visible in the east just 1951. In 1952, “The Adventures of before sunrise. Superman” debuted on television as a half hour program, starring OFFICER George Reeves as Superman. It was Krupke is identified as a sergeant filmed and broadcast in black-and- in “Gee, Officer Krupke.” A white until 1954 and shot in color sergeant is a supervisory position from 1955 to 1958 (though shown in responsible for patrol officers on black-and-white).

GUTHRIE THEATER \ 21 BUILDING THE PRODUCTION

On May 15, 2018, the cast and creative team for West Side Story came together for the first day of rehearsal. Director Joseph Haj and his team described their visions for the musical and the rehearsal process, and their comments have been transcribed and edited on the following pages.

From the Director: Joseph Haj

Most of us know West Side Story When I think of West Side Story, the very first principles of decency, from the iconic film that opened in I think of a community that is their general appearance and 1961 and won 10 Academy Awards fractured, of dreams and ambitions, actions corresponding with their including best picture, but the of immigrant tensions, of my own wretched abodes. This indifference stage musical predates the film by family’s journey. I think of what it to personal and domiciliary four years. It opened on Broadway means to be American. West Side cleanliness is doubtless acquired on September 26, 1957, and ran for Story is such a timely production from a long familiarity with the more than 700 performances. It for our current moment with its loathsome surroundings, wholly was nominated for a Tony Award exploration of the immigrant at variance with all moral or social for best musical but it lost to The experience, its yearning and all of improvements.” Music Man. And it’s important its humanity and heart. to note this because it marks a A second report about immigrants shift in trajectory in the American I want to read something to you in New York City reads “clustering musical. Some of the themes in from a couple of reports sent in our city, unacquainted with our West Side Story examining bigotry, to City Hall in New York City by climate, without employment, race and rape were thought to be observers commenting on a district without friends, not speaking our inappropriate for a musical. with a solidly immigrant population: language, certain of nothing but “The tenants seem to wholly hardship and a grave.” Those two disregard personal cleanliness, and reports weren’t filed about New

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York’s Puerto Rican population group; I think it’s intended to be a shared resentment, passion and in the 1950s; the first was filed in plural one. And we’ve taken that anger, it became clear that the 1864 about a district with a solid as our guide as we’ve selected our potential was there and work Irish population, and the second astonishing acting company for a began anew. The setting was from even earlier in 1827 at a time major revival of this play. moved from the Lower East Side when 95 percent of New York City to the Upper West Side, the title immigrants were from Europeans West Side Story began in 1949 became West Side Story and the countries – Irish, German, English, when Jerome Robbins took his rest became the history which is Polish – long before heavier waves idea of a contemporary, New now a legacy. of immigration came York City-set Romeo and Juliet from elsewhere. to Arthur Laurents and Leonard Bernstein. It was to be set on the So while most productions of Lower East Side during Easter West Side Story underline a white and Passover with Juliet and the vs. Puerto Rican narrative, our Capulets as Jewish and Romeo and production seeks to examine the Montagues as Catholic. It was the question a bit more broadly. tentatively titled East Side Story. Most gangs in New York City in And they worked long distance, the 1950s, our research teaches Laurents in Hollywood and Robbins us, were ethnically diverse. The and Bernstein in New York. They question of turf was a much wrote an outline, maybe a couple stronger leader than a question of of scenes. But the creators stalled, race or cultural background. All of and they didn’t move ahead with the Jets come from a background the idea until years later in 1955. where their own families were Laurents and Bernstein both found once, and perhaps in some cases themselves in Hollywood, and the still are, embattled and loathed idea of a musical of Romeo and as immigrants. They’ve become Juliet came up again, as did the assimilated and now localize their recent phenomenon of juvenile fears and their rage on the most gang warfare, prompted by From the Director: recent immigrant community, the headlines in that morning’s paper. Puerto Ricans. As the conversation continued into Joseph Haj Photos: Marc Koeck (Tony) and Mia Pinero (Maria); themes of immigrant experience, The cast of West Side Story (T Charles Erickson) West Side Story is for me very much a story of our fear of the new immigrant, who will take away our jobs, our opportunities, of the new arrivals who are thought to be dangerous, unclean, immoral, indecent. And the play is stunningly aligned to the architecture of Romeo and Juliet – it’s a love story and a tragic one. Tony and Maria can no more survive the brutality of their world than Romeo and Juliet can theirs. West Side Story describes our fear and our intolerance. The very first page of the script in the stage directions describes that the Sharks are Puerto Rican and that the Jets are “an anthology of what is called ‘American.’” I don’t think it’s intended to be a homogenous

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From the Creative Team: Choreographer Maija García

When I let people know that I’m I love that Joe [director Joseph West Side Story really holds all charged with making original Haj] highlighted this idea of the that up and asks us to take a look choreography for West Side Jets as an anthology of what it at who we are. It’s been said when Story, there are two responses. means to be American because you re-read a classic, you don’t The first is, “Oh, that’s wonderful. I think that this piece really does find out more about the classic, How exciting!” And I nod with a challenge us to investigate and you find out more about yourself. few doses of humility. And the deconstruct what it means to be That’s true about West Side Story, other response is, “Wow. Is that American. What is this human and it’s going to require all of us daunting?” A few people have even condition of “othering” that we to bring our greatest talents to the asked me, “That choreography is so struggle with, and why do we work and bring a real vulnerability iconic. How are you going to outdo establish deep divides between to our process. We have our work Jerome Robbins?” us and them? Why do the Sharks cut out for us, that’s for sure. I’m and the Jets have such contempt not intending to outdo Jerome I’m just going put it out there now and animosity toward each other, Robbins, but I do intend to outdo that I have no intention of outdoing and what is it that they find in anything I’ve ever done. Jerome Robbins. I have the utmost their gangs, in their groups, in their respect and reverence for his familial affiliations that gives them work, not only as a choreographer a sense of belonging? How do they but as a storyteller, as the one feel empowered in their gangs, who conceived of this play, who and how do we as humans, in our saw the need for this play and search to define ourselves, who gathered with other genius have the capacity for such composers and writers to put inhumane violence? this together.

Photo: The cast of West Side Story (T Charles Erickson)

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From the Creative Team: Music Director/Conductor Mark Hartman

I’m exceedingly happy to be doing to make this musical theater form deal of work and research in Latin this musical during the centenary into something that could bridge America – he just loved the music. of Leonard Bernstein. I could talk the classical and musical theater In fact, the first piece of music for about three and a half hours worlds, much the same way Verdi Bernstein had published was “El about Bernstein and this score … so did with opera. And Joe is right Salon Mexico,” a piano transcription get a drink of water. when he says that these themes of Aaron Copland’s symphonic in the 1950s of violence, rape and piece, and so all through both Bernstein was a classical star in murder were not typical musical of their careers, there was a 1951. He’d come to prominence comedy themes; they were, fascination with Latin music. And it in his 20s after guest conducting however, operatic themes. was terribly well-researched. This the New York Philharmonic in an score is not a pastiche of the let’s- emergency situation, which made They worked for six years on this write-something-that-sounds-like- him an overnight sensation. He had score and in the course of it, he we-kind-of-think-Latin-music-is-like been hugely popular in the Phil and was also writing Candide, another variety. It’s very much a Pan-Latin tonier New York music circles. He musical, that maybe didn’t do so score, with themes from Mexico, also, however, had a side where he well, but was directed by Tyrone Argentina, Brazil, all through the liked “the jazz music” and musical Guthrie, and Chichester Psalms, Caribbean – all these musics exist theater. And this was not always a classical piece. If you know in West Side as does as a healthy terribly well-looked upon by people Chichester Psalms, the second dose of “the jazz music.” These who know about these things. He movement, both the 23rd Psalm two musical forms create a violent had written two musicals already theme and the violent men’s chorus tension between the Sharks’ world by 1951 – Wonderful Town, which is theme, were written for West Side and the Jets’ world, and it creates a straight-ahead musical comedy Story and cut. There’s a lot of music a tension and a momentum that is based on My Sister Eileen – and On that goes back and forth between not only propelling the story but the Town, based on a ballet called West Side and Candide and creates something that is uniquely Fancy Free, which he scored for Chichester Psalms and a few other American, and I can’t wait to bring Jerome Robbins. classical pieces of Bernstein’s. it all to you.

Bernstein was really trying to skirt Also, early in his life he was a these two halves of his life and student and great friend of Aaron Photo: The musicians of West Side Story wanted with West Side to begin Copland. Copland did a great (T Charles Erickson)

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From the Creative Team: Scenic Designer Christopher Acebo

Some of the visual cues that came is part of what this play is about, those moments of musicality up in our conversations over these and that’s represented in Tony and performance. We also have past months had to do with the and Maria and the idea that their glowing orbs that will be out in the words “combustibility,” “unforgiving love, just like someone entering house and flying in for the musical space” and “oppression.” And this country, can find a sense of numbers. Our lighting designer will thinking about the neglected freedom to do as they please. hopefully have a fun time because corners of New York City, we Liberty has become a north star for they’re changeable in terms of realized that this is a brutal and us, a symbol really, that somewhere color and movement. violent world where love for a there is a place for all of us. moment breaks through. Those There are two towers, one in were the beginning ideas for the Against this idea, we wanted to the back and on the left, which environment we would be placing create a space that felt dark and track and twist. One represents a this play in. foreboding and also oppressive. building and one represents Doc’s Part of our process is to go through drugstore. We have things that fly As Joe mentioned, the sense of what is needed in each scene – to in or come up out of the ground immigration and what it means to look at what’s actually happening in to give us that sense of location. be new in this country came up a terms of action and try to discover There’s a star drop, and we’ve got lot in discussing the play, as did the most efficient and minimal a moon box for those moments the symbol of what that represents way to express that. The result is where the romance can break in this country – the Statue of that we have a world divided on through. On the back wall, there’s a Liberty. So there is the shadow of the ground, with tension between post and fence and the orchestra is Liberty present on the floor during asphalt and clean, slick lines that right behind that, so they’re always the production. The actual statue represent the grid of the city. present on stage. itself will be in our pre-set and possibly come back in the second Above the action is a canopy that act. The newest immigrants in the oppresses the space. It’s also made story are the most threatened, but up of the grid lines, and there are the Sharks will eventually become LED lights in the structure that Photo: The cast of West Side Story the Jets. The hope of liberation will add energy when we get to (T Charles Erickson)

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From the Creative Team: Costume Designer Jen Caprio

When the team started talking about and having all of this hope for her pants and there’s a laziness and West Side Story, the big question future, especially in this oppressive entitlement to their attire. They’ve came up of whether to modernize world that they’re in. Something been here and they feel like they it or keep it in period. And it was else that was really important to us should own this place. We’re using important to us to keep it in period. is that so often, at the end, Maria is modern pants because they can The lens of the 1950s is really thrown into some black or red dress move much better than vintage important because if this happened to go find Tony, but Joe and I didn’t clothing. The Jets are also in tank now, they’d have cell phones and think that fit her state of mind. So tops with lots of skin showing – and everything would be different! we decided to put her in pants and tattoos. Things that can bring us into some sneaks; she throws her hair up the now, but also speak to the 1950s. But we’re putting a little twist in the and runs out the door. It feels clothes so it does feel a bit modern more urgent. What’s important about the Sharks is in fit and in movement. We’ve taken that they look like they have an ease the looks of hair and makeup and The Sharks’ colors are the warm in the heat that the Jets do not have, done little modernization so that colors – they’re the reds, the oranges, so their clothes might look to our to our modern eye, it’s not feeling the yellows, the pinks – and the Jets eye to be a bit dressier, but they’re nostalgic. Sometimes clothes from stay in the cool colors. The Jets’ song very comfortable in the heat and the 1950s feel more adult than what is “Cool,” so it is a little bit obvious, they look a little bit slicker. They are teenagers wear now. Pictures of but it’s helpful to us when we’ve got called the Sharks, after all. the gangs from the time show that 35 people on stage to be able to see they’re in suits and vests as they’re who’s on which team. And finally, what’s important to us walking down the street, and it feels about Anybodys is that she’s trying different to us than what we think of Our Jets are living in a little bit of to be one of the guys. Joe said Leah as gangs. And the youth of this story a rockabilly world, just to give us [who plays Anybodys] came to the are very important to represent in a modern feel to this period stuff. audition in a great look, so that’s the clothes, because they’re our light It borrows from the ’40s and ’50s; where we started. There are a lot of in this oppressive world. some of their clothes are a little research images of women in these bit worn – they’re not rich guys, so gangs in jeans and a little tomboy- Maria, who’s new to this world, is a they’ve maybe pulled things from looking. It was important to us to light of hope, so we started her in their family’s closets and reworked keep her as close to the guys pink. For Maria’s dress for the dance them so that they’ve got some as possible. at the gym, I think Anita’s actually modern feeling to them, but it’s trying to help her a little bit. We not actually a brand-new garment. Photo: The cast of West Side Story wanted her to feel open and youthful They’re in jeans and khakis and work (T Charles Erickson)

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For Further Reading and Understanding

BOOKS The Shook-Up Generation by Google Arts and Culture: Harrison E. Salisbury, New York: Somewhere still: The Legacies of Broadway Song and Story: Harper & Row, 1958 West Side Story Playwrights/Lyricists/Composers (based on a seven-part series of Google Arts & Culture, September Discuss Their Hits, edited by Otis articles he wrote for The New York 2017, with The New York Public L. Guernsey Jr., New York: Dodd, Times in March 1958) Library for the Performing Arts. Mead & Company, 1986 https://www.google.com/ Something’s Coming, Something culturalinstitute/beta/exhibit/ Finishing the Hat: Collected Good: West Side Story and the tgIilqcvbt-OIQ Lyrics (1954–1981) with Attendant American Imagination by Misha Comments, Principles, Heresies, Berson, New York: Applause, 2011 New York City Fighting Gangs: Grudges, Whines and Anecdotes Teenage “Jitterbugging” Gangs by Stephen Sondheim, New York: Somewhere: The Life of Jerome from 1950–1959 Alfred A. Knopf, 2010 Robbins by Amanda Vaill, New Created and maintained by David York: Broadway Books, 2006 J. Van Pelt as a pet project for his Leonard Bernstein: West Side research into gangs of the 1950s. Story by Nigel Simeone, London: Sondheim & Co. by Craig Zadan, Includes images, articles and Routledge, 2009 New York: Harper & Row, 1989 interviews. http://newyorkcitygangs.com/ Look, I Made a Hat: Collected There’s a Place for Us: The Lyrics (1981–2011) with Attendant Musical Theatre Works of Leonard Comments, Amplifications, Bernstein by Helen Smith, Surrey: PODCASTS/RADIO Dogmas, Harangues, Digressions, Ashgate, 2011 Anecdotes and Miscellany by Hidden Brain Episode: “The Stephen Sondheim, New York: Vampires, Dragons and Egyptian Huddled Masses and the Myth of Alfred A. Knopf, 2011 Kings: Youth Gangs in Postwar America” New York by Eric C. Schneider, A 2016 conversation with historian Mainly on Directing: Gypsy, West Princeton University Press, 1999 Maria Cristina Garcia about our Side Story, and Other Musicals by ideas on current and past waves of Arthur Laurents, New York: Alfred West Side Story: Cultural immigration. A. Knopf, 2009 Perspectives on an American https://www.npr. Musical by Elizabeth A. Wells, org/2018/01/15/578169724/the- The Making of West Side Story Lanham: The Scarecrow Press, Inc., huddled-masses-and-the-myth-of- by Keith Garebian, Oakville, Ont.: 2011 america Mosaic Press, 1998 ONLINE NPR: 50 Years of West Side Story Original Story By: A Memoir of A 2007 hour-long documentary Broadway and Hollywood by Google Arts and Culture: West hosted by Scott Simon in three Arthur Laurents, Alfred A. Knopf, Side Story parts: Making a New Kind of 2000 Dive into the world of the iconic Musical, Casting Calls and Out- musical, with photos of the of-Town Trials, Broadway to Reaching the Fighting Gang by original Broadway production, Hollywood and Beyond. the New York City Youth Board, teens and New York, a history of http://www.npr.org/ Robert F. Wagner, mayor, 1960 Manhattan’s West Side and links series/14732874/50-years-of-west- to many related online exhibits. side-story https://artsandculture.google.com/ project/west-side-story

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Shakespeare Unlimited, Episode West Side Story 80: “Leonard Bernstein and West Directed by Robert Wise and Side Story” Jerome Robbins. A film adaptation About 30 minutes with a Bernstein of the stage musical. Starring biographer and archivist produced Richard Beymer, Natalie Wood, by Folger Shakespeare Library, Russ Tamblyn, Rita Moreno and August 22, 2017. George Chakiris. 2 hours, 32 https://www.folger.edu/ minutes. 1961. shakespeare-unlimited/west-side- story-leonard-bernstein The Warriors Directed by Walter Hill. Written by FILMS David Shaber and Walter Hill. The Warriors are falsely accused of The Wild One killing a charismatic gang leader Directed by Laslo Benedek. Written and, in order to get home to Coney by John Paxton. Johnny leads a Island, have to fight every other biker gang that invades a small gang in New York City. 93 minutes. town in California and falls for local 1979. good-girl Kathie. Starring Marlon Brando, Mary Murphy, Robert Keith and Lee Marvin. 79 minutes. 1953.

The Delinquents Written and directed by Robert Altman. Scotty gets involved in the wrong crowd, putting him and his girlfriend Janice in danger. Starring Tommy Laughlin, Peter Miller, Helen Hawley and Dick Bakalyan. 72 minutes. 1957.

12 Angry Men Directed by Sidney Lumet. Written by Reginald Rose. A jury of white men has in its hands the life of a Puerto Rican teenager accused of killing his father. Starring Henry Fonda, Lee J. Cobb, Ed Begley and E.G. Marshall. 96 minutes. 1957.

High School Confidential Directed by Jack Arnold. Written by Lewis Meltzer and Robert Blees. New kid at school Tony Baker becomes cozy with a local gang selling marijuana. Starring Russ Tamblyn, Jan Sterling and John Drew Barrymore. 86 minutes. 1958. Photo: The cast of West Side Story (T Charles Erickson)

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